Friday, 11 March 2016

Adam Brookes On the Character of Contemporary Spy


Today's guest blog is by author Adam Brookes who is a former BBC China Correspondent.  His debut novel Night Heron was shortlisted for the CWA Debut Dagger.  The sequel Spy Games once again features journalist Philip Mangan.

Spying never went out of fashion. There was a moment, after the Cold War ended, when we all wondered if espionage was still something states would concern themselves with. After all, with the Soviet Union defunct and the threat from international communism vanished overnight, why would we need to spy on anyone? As it turned out the question was deeply naïve. Today, our espionage agencies are larger than ever, our ability to conduct surveillance is greater than ever, and our knowledge of the world around us is more fragmented and confused than it has been in a long while. The spies are busy. 

But who are they, these days? 

Well, first of all, it’s worth just reminding ourselves of the different kinds of spy. Intelligence officers, or IOs, work for intelligence agencies like SIS or CIA or China’s MSS or Russia's SVR. They are bureaucrats. They get up in the morning and go to work in an office, and manage the nation’s spying business. You find quite a lot of them in embassies, pretending to be diplomats. Sometimes they’ll go off and live undercover, usually as business people, occasionally as aid workers or journalists. 

An IOs job is to recruit agents. An agent is someone who has access to secret information and is willing, for whatever reason, to hand it over to an IO. This IO becomes the agent’s case officer. 

Once an agent has handed secrets to their case officer, someone has to sit down and figure out what these secrets are and what they mean and who should know about them. This is an analyst. Analysts are also bureaucrats. They may do anything from writing reports to poring over satellite images to translating eavesdropped messages. Analysts sometimes lead secret lives, sometimes not. 

There are lots of variations on this basic theme. We have cyber spies and communications specialists and cryptographers and traffic analysts and paramilitary operatives and what have you, but at the centre of the espionage business remains the idea that we need to collect the privileged information of others if we are to understand the world fully and be forewarned of threats. 

Here in Washington DC, where I live, intelligence collection is a huge industry. The US government has seventeen agencies involved in intelligence collection and analysis, and they are supported by myriad private companies, or contractors. 

These are, for the most part, perfectly normal people with families. I know some of them. They are analysts. Their kids and mine go to school together. They’re smart and highly qualified, and they live on a modest government wage, and they believe that they are performing important work. 

The IOs are much harder to see, because they lead their professional lives in secret. I’ve encountered a few. Some are conservative, straight arrow types with a taste for adventure. Quite a few have military experience. The British are far fewer in number than their American counterparts. The Brits I’ve met have tended to be clever, pragmatic Oxbridge types who can deploy a particular kind of charm and who have a knack for making personal connections. Some I’ve liked. Others have given me the creeps. When I was working in Asia as a reporter I got to know a guy quite well. I thought he was a British diplomat. We’d go out drinking. We’d exchange tidbits of information, call each other up and chat. I found out much later he was SIS, and he’d never let me know. I’ve always felt a little peeved by that. 

But the agents – they’re the really fascinating characters. Why would you betray everything and everybody close to you? Why take those risks? For what? Talk about a thankless role. 

Of the great agents of the Cold War, some claimed to be motivated by ideology - Kim Philby, George Blake et al. And others by some curious mix of ideology and personal psychology – Penkovsky, Vetrov. Others were more mercenary, like Aldrich Ames, who sold out his CIA colleagues purely for money. Or, like the FBI’s Robert Hanssen, for reasons of narcissism. (Inexplicably, the ‘honey trap’ still seems to work as a means of drawing people into spying, as I’ll tell you in a moment.)

You can read the rest of Adam Brookes feature here.


Spy Games by Adam Brookes is published 10th March by Sphere, price £7.99 in paperback

Fearing for his life, Mangan has gone into hiding from the Chinese agents who have identified him as a British spy. His reputation and life are in tatters. But when he is caught in a terrorist attack in East Africa and a shadowy figure approaches him in the dead of night with information on its origins, Mangan is suddenly back in the eye of the storm.  Meanwhile, thousands of miles away on a humid Hong Kong night, a key MI6 source is murdered minutes after meeting spy Trish Patterson. From Washington D.C. to the hallowed halls of Oxford University and dusty African streets, a sinister power is stirring which will use Mangan and Patterson as its pawns – if they survive.

Thursday, 10 March 2016

February Reviews

Listing of reviews on the website in February


22 February, 2016
22 February, 2016
18 February, 2016
18 February, 2016
16 February, 2016
16 February, 2016
07 February, 2016
05 February, 2016
05 February, 2016
03 February, 2016
01 February, 2016
01 February, 2016

Breaking News - from Bloody Scotland William McIlvanney : Memorial Service










William McIlvanney : Memorial Service
3pm Saturday 2 April 2016

A memorial service to celebrate the life and writing of William McIlvanney (1936-2015) will be held at 3pm on Saturday 2 April at Bute Hall, University of Glasgow, University Avenue, Glasgow, G12 8QQ.

Tributes will include Allan Massie talking about William’s literary achievements; Val McDermid on his crime writing; Ali Smith remembering him as a creative writing teacher, Francis Bickmore of Canongate describing the republication of his books, and Hugh MacDonald reflecting on William as a journalist. The service will be introduced by William’s longtime friend Ruth Wishart, and there will also be readings by actor David Hayman, contributions from his daughter Siobhan McIlvanney and his brother Hugh McIlvanney, and songs from Sheena Wellington

Everyone is welcome to attend.



Leigh Russell on Moving Away from Police Procedurals

Interested in what makes people tick, I have always been fascinated by people who kill. What passion or insanity is it that drives someone to commit murder? Is it an act that any one of us could carry out given sufficient provocation or terror, or does it require a particular kind of personality to pull the trigger or thrust the blade? This kind of speculation led me to write my debut, Cut Short, the first of my crime novels that examine the psyches of different killers. Quite unintentionally, I found myself launched into a new career, writing a series of murder stories.

Advances in forensics make it almost inevitable that murders nowadays are subject to police investigations. The police have resources at their disposal that are simply not accessible to civilians. So it seemed to me that the best way to write about the killers who interested me was to write police procedurals. So Detective Inspector Geraldine Steel appeared, along with her colleague Ian Peterson. The parameters of a police investigation offer a familiar format, which gives the author an opportunity to fulfill or confound readers' expectations.

Having written a dozen or so police procedurals, I wanted to tackle the challenge of writing something different. My police procedurals have not been abandoned. The Geraldine Steel series is still only half way through, with at least another ten in the pipeline. But I am also writing a new series featuring my heroine Lucy Hall, which is taking me in a different direction.

It has been an exciting venture. Lucy Hall is not a police officer, which frees me from the restrictions of the police procedural. She is not accountable to anyone for her decisions or her actions, and there is no one to arrange back up or even notice if she goes off alone. She is twenty-two in Journey to Death, and still only twenty-four in the second book in the series, young enough to be impetuous and take risks. What is more, being a civilian means she can throw herself into all sorts of dangerous situations that an experienced detective of nearly forty could never credibly tackle alone.

At the same time, in some ways it has been a daunting experience as I am never quite sure how Lucy is going to extricate herself from any situation. Her investigative skills are not under scrutiny. She can go where she likes, and do what she wants, driven solely by her determination to protect the innocent and see the guilty punished. How she achieves that is entirely up to her, a freedom that I find both daunting and inspiring.

The Lucy Hall books are part crime novels, part adventure stories. It is going to be fun watching my new protagonist get into all sorts of scrapes. Acting independently, she will have to rely on her own instincts and intelligence to save herself from danger. I'm looking forward to seeing what she gets up to next, and how she manages to survive.


Journey to Death by Leigh Russell

Lucy Hall arrives in the Seychelles determined to leave her worries behind. The tropical paradise looks sun-soaked and picture-perfect—but as Lucy soon discovers, appearances can be very deceptive. A deadly secret lurks in the island’s history, buried deep but not forgotten. And it is about to come to light.  As black clouds begin to gather over what promised to be a relaxing family break, Lucy realises that her father stands in the eye of the coming storm. A shadow from his past is threatening to destroy all that he holds dear—including the lives of his loved ones.  A dark truth is about to explode into their lives, and that truth is going to hit them right between the eyes.

Wednesday, 9 March 2016

A Chat with Torquil MacLeod and Quentin Bates

Torquil MacLeod and Quentin Bates are British crime writers who both set their fiction in cold countries. Torquil writes a series of crime novels featuring Swedish detective Anita Sundström set in the Skåne region of southern Sweden, while Quentin’s books are set in Iceland – also with a female detective, Gunnhildur Gísladóttir. We decided to bring Torquil and Quentin together to discuss writing crime, why they’re drawn to cold climates and female protagonists, and what they’re working on next.

Quentin: Torquil, what took you to Sweden to start with and why set a novel there?
 
Torquil:  I went to Sweden for the first time just before Christmas in 2000 to visit my elder son who had moved there to be with a Swedish girl.  I was really taken with the countryside and atmosphere in Skåne (the southernmost part of Sweden), where we stayed.  As our hostess happened to be a blonde detective, my thoughts turned to crime.  At the time, I had no interest in writing a book, nor was I aware that Sweden was a hotbed of crime writing. Britain had yet to discover Henning Mankell. I was attempting to break into the world of scriptwriting at the time and I thought a Swedish story would be different.  In fact, I came up with two ideas, but when Hollywood failed to come calling (or anybody else for that matter), I decided to turn one of them into a book, as I already had a story.  As an advertising copywriter you learn never to waste the chance to recycle an idea! And by the time I was writing the book, my son had moved to Malmö which made a good location as I could do the necessary geographical research on my regular visits.

Though I visit Sweden frequently, I write from an outsider’s stance.  But you lived in Iceland for ten years.  Do you feel you write from a native’s point of view?

Quentin: I’m not entirely sure. I lived in Iceland during the 1990s, and although I’m able to keep in very close touch with my old home, I think I feel something of an outsider both in Iceland and Britain. My books are set largely in and around Reykjavík, and I spent my years in Iceland living in the north, so I bring with me something of an ingrained amiable disdain for those soft city types down south. This also became one of the characteristics of my detective who migrated to Reykjavík and never went back home, which is something of a theme in Iceland. Reykjavík really is a melting pot, the majority of people either having come from outlying parts of the country or else their parents did, moving to the city in search of work or education or both. Then there are the more recent foreign immigrants as well, and it has become a very multi-cultural place.

Having lived there for so long and having had no choice but to learn a decent amount of the language, I’m an insider in that I can follow the local news, keep abreast of the intrigues and scandals that an outsider wouldn’t, and also understand the scathing off-colour jokes Icelanders tell about their celebrities and politicians. On the other hand, I try to write from something of an outsider’s viewpoint, as Icelandic writers don’t go out of their way to cover much of the local colour that people like to read about – and I guess it’s because they’re writing primarily for a local readership and much of this stuff is simply taken as read as it doesn’t need to be explained.

So tell me about Anita Sundström. Where did she appear from – and did you make a conscious decision to write a female protagonist?

Torquil: Choosing a female lead was quite easy as I already had a role model in our hostess (previously mentioned), who, since 2000, has become one of our closest friends. She is still a serving detective, though not in Malmö.  I hasten to add that she is only partly Anita Sundström and that my creation is an amalgam of people. But I think I'm naturally drawn to female protagonists because I find them more interesting, more layered. They have more depth, have more empathy, tend to be more perceptive and are outwardly more honest than their male equivalents, which is probably why a lot of my failed screenplays centred round a female character. The problem is that all my main male ones (including Jack Flyford in my historical crime novel) end up just being version of myself (and that's not a good place to go!).  As I feel more detached from Anita, I just think the character gives me more flexibility and allows me to explore areas that a male detective might not stray into.
 
I don't know if you feel similarly about Gunnhildur.  What were her origins?

Quentin: I have much the same feelings about Gunnhildur and writing a female character wasn’t especially a problem, but I imagine writing a significantly younger character convincingly would be more of a challenge than gender-hopping.

When I was working on the original draft of what became Frozen Out, the protagonist was a man. Gunnhildur was the sidekick. After a while I realised that this chap, who was so unmemorable that I don’t remember what name I gave him, was pretty dull. He was a collection of all the middle-aged, grumpy detective story clichés and it dawned on me that there was a far more interesting and engaging character there waiting to be promoted. So he was given the boot, Gunnhildur stepped in and she seems to have done a fairly decent job solving crimes that are way above her pay scale.

I didn’t know any real police officers at the time, although I have since collected a few I can go to for information. So Gunnhildur is a mixture of half a dozen people, not all of them female, and there are facets of her that belong to this or that person. But only I know who is the model for what she looks like, and my lips are sealed on that.

The rest of the interview can be found here.


Torquil MacLeod's fourth Anita Sundström mystery Midnight in Malmö comes out in paperback on March 30th through McNidder & Grace. You can find out more about Torquil MacLeod on his website.


Midnight in Malmö 
When a woman is stabbed to death while jogging in Malmö’s main park, the Criminal Investigation Squad need to discover who she is before the case can properly get under way. Soon they realise the victim had flown in from Switzerland, and with links to important people in the city, she wasn’t everything she seemed. Meanwhile, enjoying the hot summer away from Malmö, Anita Sundström is on her annual leave and is showing Kevin Ash the sights of Skåne. Their holiday is interrupted by the apparent suicide of a respected, retired diplomat. After a further death, Anita finds herself unofficially investigating a case that has its roots in the 1917 chance meeting of a Malmö waiter with the world’s most famous revolutionary. All she knows is that the answers lie in Berlin. Two investigations that begin and end at Midnight in Malmö.

Quentin Bates’s fifth Gunnhildur novel Thin Ice is published on the 3rd of March by Constable.  More information about Quentin Bates can be found on his website.  He is also part of Iceland Noir. You can also follow him on Twitter @graskeggur.

Thin Ice
Snowed in with a couple of psychopaths for the winter... When two small-time crooks rob Reykjavik's premier drugs dealer, hoping for a quick escape to the sun, their plans start to unravel after their getaway driver fails to show. Tensions mount between the pair and the two women they have grabbed as hostages when they find themselves holed upcountry in an isolated hotel that has been mothballed for the season.  Back in the capital, Gunnhildur, Eiríkur and Helgi find themselves at a dead end investigating what appear to be the unrelated disappearance of a mother, her daughter and their car during a day's shopping, and the death of a thief in a house fire.  Gunna and her team are faced with a set of riddles but as more people are quizzed it begins to emerge that all these unrelated incidents are in fact linked. And at the same time, two increasingly desperate lowlifes have no choice but to make some big decisions on how to get rid of their accidental hostages...